Krys Wada - Car parking - Feedback

First thing, the guys look really small in this car, especially in the last shot when he changes gear (he's really stretching that car).
Overall it feels a bit slow and floaty I'm afraid. Think about rhythm and how you want to pace the sequence. Since he's defeated afterwards and drives away, his demeanor can be slower and disappointed, but for contrast I would amp up the first shot where he's really active and looking around. The passenger is relaxed on the other hand, and he will be freaked out at the end after the crazy parking stunt, whereas the driver is happy and relaxed since he just parked in a cool way. Try to incorporate more contrast in their poses and their acting, so you we can differentiate them better and think about the story arc, where they start and where they end up, emotionally and visually.

Akem Singh - Walk - Critique

There was a question about my walk cycle workflow:

I haven't animated a cycle in a while but have done walks from A to B just recently. Either way, I focus on the body first, yes. I want to get that timing right so that the translations feel right. The main weight has to work. If you tweak the legs you just have to know that that part will change the moment you change something in the body. So I won't bother with foot rolls and off set and crazy stuff like that. First the body, then the hips, then the legs and feet. That's kinda the approach. Anything that will screw up the legs gets finished first. Not polish polish finished, but finished to a point where additional changes won't affect my legs, knees and feet.

Your walk looks already great!

Looking at the body, you're in a great position!
Front view: the side to side is nicely exaggerated, the up and down has a nice feel to it as well.
Side view: here's where I would tweak the forward translation a bit. Right now the body slows down towards the point where it pushes up for the next step. Looking at the spacing it gets smaller and smaller up to x15 for instance and then from x15 to x16 the spacing is much bigger. Watching that in real time gives the impression of a little pause for each step, which makes it a bit hiccuppy. I would actually take that out and make the forward translation linear or at least reduce it by a lot in order to get rid of that pause feel.

The feet:
It's good to get rid of any default rotations in any body part. So in the front view the feet are pointing straight towards the camera. You can rotate them out, one a bit more than the other, for asymmetry. Then, the bottom part is flat and parallel to the ground, so tilt the foot sideways the moment it gets off the ground. I like the outer arc the foot is following though as it moves forward.
One thing though, the body forward up and down rotation (side view) feels odd. From x3 to 6 for instance, as the body goes up, I would rotate the body forward for the overlap. Kinda where it is at x10, but start that much sooner so you get earlier into the body rotation on x13, then after the step on x18 the body would be done again, etc.

Looking great already!!
Cheers
JD

Barry Nardone - 80% - Feedback

Hey hey,

Overall, the body attitude and posing fits the tone of the voice, which is great! Animation wise it feels a bit too spliney though. The transitions from pose to pose are too loose. Also, think of contrast, visually. How can you make this interesting without crazy poses and fast timing. Try to incorporate visual changes so that tone wise the shot doesn't feel stale.
For instance: what if the bench is more parallel towards us. She would still sit the same screen space (so off to the left, not in the middle of the shot). But she is looking screen left, head, eye and body wise, during the first section until "like... (pause)". Then she readjusts herself a bit like you have it, but turns the head to the right and the body a bit as well. So first she's looking to the left, lost in her own thoughts. Then, after the readjustment, she looks at the person she's talking to and probes him about the 80 or 90% and that's why she's making full eye and body contact, because it's more focused. You will have a visual contrast with the pose change and it will accentuate her focus. But keep the poses that you have with the shoulders up and head down.
Sound wise, make sure to include the little breathers in your animation, that's great material. For instance: the inhale around the x50 area and from x90 to around x120 (I wish quicktime could scrub through sound...). Those pauses are gold because you can incorporate your own little acting nuances without being too tied to the sound.

Hope that makes sense! :)

Cheers
JD

Snehal chaudhari - bouncing balls - Critique

The heavy one works very well, that one is done.
The medium one is a bit too poppy. Give it a few more frames for the up and down. Especially for the last bounce on x38 (if your anim starts at x1). It's too high to just drop down over one frame.
The light ball is going into the right direction, but needs a bit more work. The initial drop needs more acceleration towards the end. The bounces after that are better but from x228 and on it starts to feel very slow and even. Add a little acceleration to the drop for the rest of the bounces.

Erik Lee - Fight - Critique

AcTion! from gogoerik on Vimeo.

Ok, here my thoughts:

shot1: the big monster pounding his chest, on x33, his right foot in the air, tilt it a bit more sideways like the guy on the right has it on that frame, so that the foot is not so flat and parallel to the floor. You can also bend the toes in a nice pose to get rid of that flat feel.

Guy on the far right, I would make his stick/bat/weapon a bit heavier. Watch how the stick drops on x25 for two frames, then stops rotating and translates up. Played in real time it feels too fast and takes the weight away from the object.

shot2: I would have her move more screen right and not so straight towards us. Especially since her eye direction is focused on the right side.

shot3: watch her hand contact on x87, keep it planted. Same on x90. She pushes herself up, so all the weight is on that hand, so flatten it on the ground. It's an interesting move that she can spin around on one hand and then bring her legs up without a leg push and just her hand. :) Watch your body arc though, how she goes up at around x90, hangs in the air until x94, but then starts to move screen left to around x97. Don't have her go up straight and then left, keep it an arc. Lower her feet on x96 to x100. The shadows show that there's no ground contact.

The guy landing screen right at x95 should continue a roll backwards to keep that momentum going. You lower his legs pretty abruptly on x97 (and heel goes through the ground). Swing the legs backwards and slow it down a tiny bit.

shot4: looks fine, the shake is nice

shot5: the creature looks pretty good. Watch the right fingers, they drift down from x180 to around x197 and the fingers are going through the ground. When he moves his hands back from x206 to x215 give it another pose, don't just pull the hands back. You can rotate the hands into a new position and change the finger poses. Watch the ground contact, like on x250 his left foot goes through the ground. Same with the toes at the end.

The girl has some crazy momentum from x172 to x173, watch how her root travels screen right and then after x174 goes up and not very far to the right anymore. She's so leaning to the right that you either have to lean her less or have her take bigger steps to the right to balance herself out.

Watch her screen right arm arc from x174 to 177, the arm just goes straight up. I'd continue the swing so that during that part it's doing an arc to the left (finishing the arc you started) and then up to her face.

I'd bring her right leg more to the right on x187 so she can push herself back screen left. She's still pretty off balance and was moving heavily to the right. Same thing on x209, she's really leaning to the left but then it looks like she's just rotating her body up to x213, instead of using her right leg to push herself up. So plant that leg a bit earlier and more screen left so that the mechanics work.

Nice work though, there's a lot of cool complex stuff in it! Sweet!

Reel 2009 - Eric Chiu

Alex Ferreira Simoes - Bouncing ball - Critique

The ball looks great, there are only minor areas that I think would need tweaking. When the rotating platform in the middle goes down the spacing goes from bigger to a lot smaller over one frame, from x60 to x61 it's still big, then from x61 to x62 it's small. I'd make that transition a bit more gradual.
When the ball gets off the platform on x80 to x81 I was a bit confused. At first I thought the platform is spinning/shooting him away, but then the rotation was going the wrong way. Framing through it I realized that it is the ball that jumps out. That part didn't read too well for me. Either have the platform shoot him out like that, but still reduce the spacing from x80 to x81, which seems almost poppy, or telegraph the idea of the ball jumping out more clearly by adding a bigger anticipation. It could squash a bit more and do a little swing to the left and then jump out.
The hangtime around the x112 area is a bit too much. The ball rolls up pretty quickly and then quickly slows down and hangs for a long time. Given how realistic the other parts are this is really standing out. You can exaggerate the hang time, but this is pretty close to Matrix bullet time. :)
The last bounces feel a bit soft. It looks like your squashing the ball on x149 while still having a gap between the ball and the platform. And the last bounce on x152 could be lower and a bit faster. Overall the ball could also move a bit screen right, since there is Left to Right momentum with that last big bounce with the long hangtime. It feels a bit off to see the ball have such a big arc and then during the last bounces it's just a straight up and down in Y.

That's all! Nice turnaround!

Cheers
JD